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- Renaud Garcia-Fons - EntremundoSometimes referred to as "the Paganini of double bass," Renaud Garcia-Fons is a composer and five-string bass player who was deeply influenced by the brilliant bassist François Rabbath. Garcia-Fons actually started his studies in music at an early age. He began with piano when he was only five, switched to classical guitar at eight, and then to rock in his teens, finally settling on the bass when he was 16. Garcia-Fons lives in Paris and has toured through Germany and Europe performing at festivals. In 1987, he became a member of the Orchestre de Contrebasses. He remained with them for six years, also appearing with the Orchestre National de Jazz during some of that time. ENJA Records released Garcia-Fons' solo debut, Légendes, in the '90s. Alboreá was his next release. The album featured his quartet of Jean-Louis Matinier on accordion, Jacques Mahieux on drums, and Yves Torchinsky on bass. Garcia-Fons' third album, Oriental Bass, which he composed, was released in 1998. Next, he combined talents with accordionist Jean-Louis Matinier on the album Fuera. Garcia-Fons' music is a rich gypsy mix of global jazz flavored with Indian, Greek, African, flamenco, Latin American, tango, and new musette. On many works he is accompanied by a variety of instruments, including guitar, lute, derbouka, flutes, trombone, and accordion. ~ Charlotte Dillon, Rovi
* From 1987 to 1993 Renaud Garcia-Fons was part of the unique French all-bass ensemble L'Orchestre de Contrebasses before starting his journey as a soloist that led to his instrument's full emancipation. Arguably the most amazing double bass player in the world, Garcia-Fons is known for his overwhelming virtuosity, his Mediterranean melodic sense, and his charming con-arco sound. * Garcia-Fons shows a wide array of influences including not only jazz and classical but also flamenco, new musette, tango, Celtic, Andalusian, African, Latin American, Arabic, and Indian traditions. His unique artistry led to many exciting and successful collaborations with other globally minded players like Rabih Abou-Khalil, Michael Riessler, Dhafer Youssef, Nguyên Lê, Gérard Marais, Pedro Soler, and Cheb Mami. * In the tradition of his prize-winning albums Oriental Bass and Navigatore, Garcia-Fons concentrates on a flamenco-influenced core group on Entremundo. On his sixth album for ENJA, Garcia-Fons focuses his talents in a burning artistic statement that is at the same time pleasingly listenable and daringly visionary.
01. Sueño Vivo
02. Crístobal
03. Entremundo
04. Mahoor
05. 40 Días
06. Entre Continentes
07. Mursiya
08. Rosario
09. Doust
10. Sareban
11. Aqâ Jân
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Переслать - Tomatito - Barrio NegroTomatito is one of the leaders of a movement that has been called flamenco nuevo, which combines Spanish flamenco guitar with other Latin forms. For this virtuoso Spanish guitarist/composer, elements of everything from Cuban to Brazilian music are fair game. Flamenco nuevo has been incredibly popular in Spain since the '90s, and one of its biggest sellers was Barrio Negro (which was released in Spain in 1991 and in the U.S. in 1993). This very fresh-sounding and largely instrumental CD shows that while Tomatito (who has major chops as well as plenty of soul) owes a great artistic debt to traditional flamenco, he isn't a traditionalist or a purist himself. Not at all. It is Tomatito's willingness to stretch and broaden flamenco that makes Barrio Negro the exciting album it is. ~ Alex Henderson, All Music Guide
1. Barrio Negro (rumba)
2. La Voz Del Tiempo (tangos)
3. Canailla (alegrias)
4. Armonias Del Romane (colombiana)
5. A Mi Tio 'El Nino Miguel' (bulerias)
6. Caminillo Viejo (tangos)
7. Callejon De Las Canteras (taranta)
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Переслать - Abdel Halim Hafez - Ala Hasb WddadABDEL HAMIM HAFEZ (A929-A977)
The place
The Al - Andalus Garden Theatre Hall, Cairo.
The Time
The evening of 18th June 1953 at 11 p.m.
The Occasion
The celebration of the 1st Anniversary of the July 23rd Revolution.
The singers participating that night: Farid El Atrache, Shadya, Mohamed Fawzi, AbdulAziz Mahmoud...and others. An historical broadcast had just taken place! the seclaration of the abolition the monarchy and the creation of the Repuplic of Egypt. One hour later that great legend of the Egyptian theatre Yousif Wahba, appeared on the stage and, in his wonderfully distinctive voice, introduced to the audience a new singer: Abdel Halim Hafez.
Abdel Halim began to sing Safeini Marah Wa Jafeini Marrah (You may keep me in your mind at one time, you may turn away from me at another...but do not forget me altogether).
Finishing the first passage of the song, Abdel Halim noticed that there was no reaction from the audience, no applause. He began to feel confused. His memory went back to that evening when he stood before the audience in Alexandria and they had pelted him with tomatoes, finding his voice not to their liking... He began to feel that his carrer as a singer was ending before it had started. Nonetheless hi continued.
He sang on through to the last verse; and, suddenly, uproar broke out. Unending clapping, cries of admiration. He had found acceptance at last. The audience begged for the song to be repeated; and the next song and so on through the sevening. He had triumphed at last.
After the show Abdel Halim found himself walking alongside the Nile in the company of Mohammed Al Mouji. Between the two of them they had scarcely enough money for a sandwich but happiness reigned for both.
The promoter of the Alexandria show came to Abdel Halim offering him a contract to appear again but at twenty times more per night than he had been paid. He accepted at once. And so he came to perform again and his second show as in marked contrast to his first appearance. The prooter promptly doubled his last offer and so Hafez found himself singing at 200 pounds per night. But what was more important to him was regaining his self-esteem and wining over the admiration of the Alexandria audience.
From that moment on, his career never looked back and he mounted the lasser of celebrity and glory even faster.
His work includes:
- 16 feature films, the first being "Lahn AL-Wafa" and the last "Abi Fouk Al Shagara".
-17 films and TV programmes, 93 Song for the movies, 50 filmed songs, 5 Feature films, 3 Broadcast programmes, 2 Broadcast serials and 260 songs.
Abdel Halim starred in the first Egyptian colour Cinemascope picture Dalilah. He concluded contracts for starring in 5 films but these were not released due to his failing health.
These were: Wa Tamdi Al Ayyam / D'ani Li Waladi / La / Rassassa Fi / Al Kalb and Tayeh Being Al Sama Wa Al Arad / Milestones in the career of Abdel Halim Hafez:
- On 21st June 1929 he was born in the village of Al-Hilwat, in the province of Al-Sharkia, the 4th child of Sheikh Ali Ismael Shabana following after Ismael, Aliah and Mohamed. His mother died during his delivery. His father was to die five years later.
- On 3rd December 1940 he began to suffer the symptoms of bilharzia. This dreaful disease continued to eat into his gaunt body until it finally overwhelmed him on 30th march 1977.
- In 1945 both he and his friend, the singer Ibrahim, were enrolled in the Arabian music
Institue. He was to study the oboe.
- In May 1948 he graduated from the institue along with his colleagues Kamal Al Taweil, Ahmed Fouad Hassan, Fayda Kamil and Ali Ismael.
- On 5th October 1948 he started teaching at the Tanta School.
- On 10th January 1949 he was appointed to the desk of oboe in the Radio Symphony Orchestra and, on 8th September his third film Ayyam Wa Layali was screened.
- On 14th July 1959 he founded, in association with the camera director, Waheed Farid, a film production company which they called Aflam Al-Alam Al-Arabi.
- In 1960 he formed, Alongside Mohamed Abdel Wahab and Magdi El Amroussi, A recording company called Soutelphan and which the later continues to direct to this day.
- On 17th February 1969 his last film Abi Fouk Al-Shagara was screened co-starring Nadia Lutfi. A huge success, the film ran for over a year.
1. ALA HESB WEDAD (According to the wishes of my heart)
According to the wishes of my heart I shall say farewell to my beloved. I gave my life for him, that too according to the wishes of my heart. My enduring patienceran out when my sweetheart left me and nothing will bring him back again. I have to accept my destiny and if he did come back one day there will be good times with him, once again, according to the wishes of my heart.
I will go with the wind, uncontrolled and I know not whither I go. To my home? Or will the wind drop? Life teases us... good days and lovely songs may return ... and there will be good times with him. once again. according to the wishes of my heart.
I will not submit to destiny, nor retire to my room, defeated but instead will tell everyone that I am going back to my sweetheart. We will sing together of enchanted times and weave the tissue of happiness and say to my sweetheart how happy is his return, according to the wishes of my heart.
2. DAY AL KANADIL (The light of the lamps)
The light of the lamps along the street reminded me of a wonderful date with my swetheart and the nights we spent together accompanied by the lamps which stayed awake with us throughout. Oh, Street of Mystery! I have walked your length both in pain and happiness. A long empty night I walked alone enquiring about the road to my destinations. Beneath the lamps we chatted, the soft breeze blew against us and we talked more and more while tears welled up in our eyes ...
The light of lamps along the street reminded me of a wonderful date with my sweetheart ..etc.
Oh, Street of Passion ! We are consumed in love and the years passed by leaving you and me together facing the strange breeze of our days to come. Beneath the lamps we chatted, the soft breeze blew against us and we talked more and more while tears welled up in our eyes ...
The light of the lamps along the street reminded me of a wondeful date ...etc.
3. ALWAY ... (The wind...)
The wind, the wind, ... On behalf of my lover did the wind knock upon my door saying that beauty was coming ... but the wind was lying for it pushed against my door and left without a response. It brought me neither letter nor any blame for, to my mother, the wind is unsafe.
I swear that I have never said Aah ... ! Nor suffered from your love but the charm in your eyes has forced me to react towards the neighbourhood. Tell me "Who is like you ?" None is like you ! Because of your radiant light the moon failed to cast its shadow ... the wind, the wind ...
My heart awakens at dawn and begins to sing for you with longing and passion. It hears the nightingale who remained awake singing and praying for you. Tell me "Who is like you ?" None is like you ! etc.
I will spread light in your path and surround it with roses and every day I will walk along this path beside which I shall plant my hopes for I shall spend my life on it, waiting for you to come.
Tell me "Who is like you ?" None is like you ~ Because of your radiant light the moon failed to cast its shadow ... the wind, the wind ...
4. AEZ ALNASS (All life long ... the dearest)
All through our lives we meet others and become acquainted; we feel comfortable with some of them but not with others.
The years pass, the colour of night is changed, and we may forget some. But the beloved is never forgotten ...those who are dearest to us.
Throughout life the years pass, time passes, unaware of our feelings or existence but, when we live a moment of love, this gives us happiness. Who can forget the first spark of love ? Does one ever forget it ?Glance back in your life recalling "I fell in love" and then you are reminded "I was defeated in love." Who can forget those nights of passion with their aftermath of sweetness and warmth ? Or the first touch of the hand ? We may forget many people but we remain closest to each other, you and me, my darling, all life long.
My darling sweetheart, my soul, my heart's eye that enables me to see ... to see you even when after among the crowds of thousands of people, if, my sweetheart, the span of our lives hides certain misfortunes that may befall us, there are still times on the path of love that provide us with precious moments and in those moments we forget ... everyone !
5. DEHK WA LEEB (Laughter and play)
Laughter, play, love, seriousness - thus we live our days - and nights. Enjoy this in your youth, live by the soul, the mind and the heart. You will find life to be a great merry-go-round and a great dream. Laugh at times, play at others, be serious for some moments but always love for ever. Live your days to the full, stay young, be happy, dance, sing as much as you can for the rare moment that escapes us may not return again. Live your days with laghter, at play, in love, in seriousness: live your dreams with smilles in mind, body and soul. Live your days - and your nights.
Oh, World, never did I see you as beautiful as today nor did I ever sing to you such a beautiful song as I do now to tell that love has captured my heart ! I find myself in the Spring of love and I asked my heart to let me love more, and more, and more and to forget the old days and the nights of sadness ! If you live like this then. World, you'll remains as beautiful as ever. Never did I sing you such a beautiful song.
Live your days in laughter, at play, in seriousness and in love. Live your dreams with smiles in your mind, in your eyes, in your soul and in your heart. Live your days - and your nights this way.
1. Ala Hesb Wedad [According to the Wishes of My Heart] - Abdel Halim Hafez, Hamdy, Baligh
2. Day al Kanadil [The Light of Lamps] - Abdel Halim Hafez, Rahbani Brothers
3. Alway... [The Wind...] - Abdel Halim Hafez, Jawdat, Saleh
4. Aes Alnass [All Life Long... the DeArest] - Abdel Halim Hafez, Aziz, Morsi Gameel
5. Dehk Wa Leeb [Laughter and Play] - Abdel Halim Hafez, Aziz, Morsi Gameel
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Переслать - Tabula Rasa
Jie-Bing Chen, Bela Fleck, Vishwa Mohan Bhatt
Tabula Rasa
Waterlily Acoustic's custom recording gear (made by Esoteric Audio Research) shines on this elegant, rich recording of Fleck and his fellow musicians made in an old Santa Barbara church. The in-depth liner notes are a comprehensive companion to the music and the history surrounding it. They stuck to the basics for this one - single stereo pair of mics, pure 2-track analog w/no adulteration. It sparkles! The music is a joy to listen to, the various flavours of each musician's style mixed together to make for a colourful, melodic album. Definately a rare colaboration that shouldn't be missed!!
This cd here represents what the word miracle defines,three main musicians of all diffrent genres,the unusual sounds combine to create a melodic paradise that engages in eternal harmony and groovy rhythms,kept by percussionist Srinivas and Violin queen sangeetha shankar.Ronu does a great work too on the flute,but as we know the core roots of this albums is fleck and bhatt with cheing providing the finishing touch!
Béla Fleck is an acknowledged master of the five-string banjo. An unassuming artist whose virtuoso performances fuse jazz, rock, Irish balladry, and bluegrass, Fleck cannot possibly be confined to a strict genre or even considered "new grass." His is an original style, a hip, urban sound that just happens to come from a uniquely American instrument traditionally stereotyped as being anything but sophisticated. Time magazine contributor John Elson called Fleck "the Paganini, or maybe the Jimi Hendrix," of the banjo, noting that the Grammy Award winner has taken "this jangling folk instrument into jazz, classical music, and beyond."
Fleck never touched a banjo until he was fourteen, but by the time he was in his mid-twenties, he was cutting solo albums and picking with the New Grass Revival, a premier bluegrass band. His later work, with Béla Fleck and the Flecktones, is more likely to be heard on jazz radio stations than on country stations. "I wanted to play like pianist Chick Corea," Fleck disclosed in an interview with Down Beat magazine. "I could look up and down the banjo neck and everything was there that you needed to play the notes, but no one had come up with the technique to play it. I started working on things most musicians work out on for most instruments, like working on scales, finding a way to play the chords. There was nothing remarkable about the things I did except that they were on the banjo."
Fleck was born and raised in New York City. He and his brother lived with their mother, a public school teacher. "I never met my father," Fleck declared in Time. "He taught German for a living but was crazy about classical music. He named me after Béla Bartok, the Hungarian composer. He named my brother Ludwig after Beethoven. It was rough. The torture started in kindergarten."
Fleck was just about ready to start kindergarten when he had his first brush with the banjo. Like many Americans, he initially heard the instrument in the theme music of the 1960s television series The Beverly Hillbillies. Fleck recalled in Time that he and his brother were watching the show at his grandparents' house. "The theme music started, and I had no idea it was the banjo," he said. "It was Earl Scruggs in his prime. I only remember hearing something beautiful. It called out to me."
Other musical influences intervened, however. Fleck learned to play guitar and was influenced by pop and rock as a youngster. Then, at 14, he saw the film Deliverance, with its "Duelling Banjos" bluegrass theme. "The sound of the banjo just killed me," he remembered in Time. "It's like hearing mercury."
He got his first banjo at age 15 in 1973. "Some people say banjo is an instrument you either love or hate," said Fleck. "For me I just instantly loved it. I couldn't put it down for days. I didn't want to go to sleep. I got up early to play it. I thought about it in my spare time. On the bus to school I was thinking about it. I was so excited to get home and play it again. I tried to play other instruments, but nothing else ever really caught on, nothing else called out to me that way."
He began to spend up to eight hours a day locked in his room, experimenting with the instrument. He was accepted into Manhattan's High School of Music and Art, but since the banjo was not considered a serious instrument there, he played guitar and studied music theory. He took private banjo lessons with three teachers, Tony Trischka, Erik Darling, and Mark Horowitz. He also learned, as many bluegrass musicians do, from listening to and imitating such bluegrass pioneers as Scruggs and J. D. Crowe. He also was absorbing musical ideas from additional, seemingly disparate, sources such as Yes, Charlie Parker, The Beatles, Joni Mitchell, and Return to Forever.
As soon as he graduated from high school in 1976, Fleck moved to Boston and took a job with the bluegrass band Tasty Licks. In 1979 he moved south to Lexington, Kentucky, to help form the group Spectrum. Fleck confessed to a Time correspondent that his first exposure to Southern bluegrass was a "big culture shock." He added: "I was a little cocky, but down South, they didn't think I sounded so great because I lacked tone and I didn't have a great sense of rhythm. They were right." Fleck perfected his technique and cut his first solo album, Crossing the Tracks, in 1980.
He joined Sam Bush, John Cowan, and Pat Flynn in the New Grass Revival in 1981. The band, of which he and Flynn were the newest members, were all ready well known for pushing the acceptable musical limits of bluegrass. Throughout the 1980s the New Grass Revival continued to raise the bar and musically experiment. Stereo Review correspondent Alanna Nash proclaimed the band "the ultimate progressive supergroup" with "its own unique, indescribable, and innovative blend of jazz, rock, reggae, gospel, rhythm and blues, and whatever else strikes its fancy."
Almost every New Grass Revival album recorded since Fleck's arrival features an instrumental withhim as its principal performer and composer. Among these are the Grammy-nominated "Seven by Seven," "Big Foot," and the popular "Metric Lips."
New Grass Revival disbanded in 1991. Fleck and Bush have played together live and in the studio since on Bush solo releases from 1996's Glamour & Grits to Ice Caps: Peaks of Telluride, released in 2000. Bush has reciprocated, appearing as a guest on Fleck's solo and band projects. Perhaps the best example of this synergy is Strength in Numbers, a one-off recording project with Fleck, Bush, Jerry Douglas (dobro), Mark O'Connor (guitar/mandolin), and Edgar Meyer (bass). The group was "sort of the de facto house band" at Telluride for years when they recorded a single album under the moniker. Fleck also performed on various other artists' recordings throughout the decade including Andy Statman, Ginger Baker, Rhonda Vincent, and Dave Matthews Band.
For Fleck, this freedom from the constraints of a band and genre offered him an opportunity to play more jazz-oriented material. As Seth Rogovoy pointed out in a 1996 article, Fleck has taken the banjo, "from its fixed role as a lead instrument in the traditional bluegrass ensemble, restored it to its long-forgotten home in the jazz band, and by recognizing no limitations on its potential, transformed the way it is played and imagined."
He formed Béla Fleck and the Flecktones in 1990 with a pair of brothers, Victor and Roy (a.k.a. Future Man) Wooten, on bass and Drumitar, and added Howard Levy on keyboards and harmonica. Jeff Coffin would join the group well after Levy's 1992 departure. Their music has been embraced enthusiastically by the jam band community. Fleck has recorded with several notable bands in this genre including Phish, Government Mule, and Leftover Salmon and he frequently appears at numerous music festivals, including bluegrass, jazz, jamband, and world music festivals.
After a decade-long relationship with the Warner Bros. label, Fleck signed a five-record deal with Sony's Columbia Records. This package stipulated that he would record two projects for release on Sony Classical, a solo album, and two discs with the Flecktones. The first of these was Outbound, released in 2000. William Ruhlmann, writing in an oblique review on All Music Guide, essentially called the project a random mess. "Fleck really offers no defense to the charge of being a musical dilettante, he simply celebrates the surface pleasures of different varieties of music, offering an overlapping series of appetizers," he wrote. "A fan of any particular style is liable to feel that it has been trivialized, but Fleck doesn't mean any harm. His music represents the pursuit of facileness as a musical goal, one that he and his band achieve with alacrity."
Fleck seemed to fare better with the critics with 1995's Tales from the Acoustic Planet. This project combined both jazz and bluegrass, featuring guest artists from both worlds: Chick Corea, Branford Marsalis, Douglas, Meyer, and Bush. The credo adopted by Fleck and his mates is virtuosity. If someone can play their chosen instrument expressively, the music being played is incidental. "Béla's bad, man," said Marsalis, who first played on UFO Tofu with Fleck, to Down Beat in 1997. "Béla just has that thing. When you hear the music, you say, 'Yeah, I'm down,' and that's the true test for me. ... It was one of the original jazz instruments, but it was mostly a strumming, picking instrument. ...Even banjo solos were just like 'chink chinka chink,' which is not what Béla's doing at all. He's playing the goddamn thing."
Perhaps no other album to date has attempted to combine all these influences in one package than 2003's ambitious Little Worlds. Guest artists on the three-disc set included Bobby McFerrin, Marsalis, The Chieftains, Douglas, and Bush. Jason MacNeil, music critic for the online publication PopMatters, said it appeared adopted the "everything but the kitchen sink to pad albums and give fans more than they anticipated and, in some cases, even wanted" approach. "Béla Fleck has decided to try the same format." A second single disc was released at the same time. MacNeil called the full project, "Long, average and thoroughly unappealing, unless you are the ultimate Fleck fanatic."
But Down Beat 's Jason Koransky observed similarities to Weather Report, the great jazz group of the 1970s and 1980s known for its improvisational prowess. He said the project "stands as a milestone, and ... offers the best song-writing and production of the Flecktones' recording career."
In The Big Book of Bluegrass, Fleck discussed his artistic goals and his position in the music business. "I think I just have to follow the path where the music leads me and play as many different kinds of things as I can," he said. "Basically, I try not to take it all too seriously. As Alan Munde once said, 'It's only a banjo.' I mean, how seriously can you take it? It's like being the best kazoo player in the world."
Critics have taken it seriously indeed. Elson concluded that Fleck's work "is pure revelation. ... His technique is always at the service of a sophisticated musical imagination that can make the banjo sound as if it were born to play jazz."
1. Carukesi
2. Emperor's Mare
3. Radha Krsna Lila
4. John Hardy
5. Tabula Rasa
6. Geocentricity
7. The Way of Love
8. Earl in Shanghai
9. Water Gardens
10. The Jade Princess
11. The Dancing Girl
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Переслать - Senzan/Yoko - Evening Snow
Tani Senzan, Tanaka Yoko
Yuki no yo (Evening Snow)
Beautiful, peaceful traditional Japanese music. The soothing tones of the shakuhachi flute and the koto blend together harmoniously.
This is traditional japanese music with the shakuhachi (bamboo-flute) and koto (nearly a zither or harp, but sounds different). Tani Senzan plays the Shakuhachi and Tanaka Yoko the Koto.
Soothing, peaceful, relaxing, perfect for Yoga, massage, meditation, reiki, even at work. A delight for Classic Japanese music amateurs.
1. Graceful Spring - Tani Senzan, Genchi, Hisamoto
2. Midare - Tani Senzan, Kengyo, Yatsuhashi
3. Evening Snow - Tani Senzan, School, Uyeda
4. Children's Song Medley - Tani Senzan, Seiho, Nomura
5. The Plover - Tani Senzan, Kengyo, Yoshizawa
6. The Dream of the Bird - Tani Senzan, Tadad, Sawai
7. Farewell Dance - Tani Senzan, Miyata, Kohachiro
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Переслать - Reiko Kimura - Music for KotoReiko Kimura was born in Nagano prefecture to a koto-playing mother, and started koto lessons at the age of six. Lessons in piano and solfege followed soon after. In 1971 she entered the Seiha Academy of Music in Tokyo, where she studied classical koto of the Ikuta school and jiuta shamisen. On graduation she continued her studies at the training course for performers of Japanese music established by NHK (Japan's public broadcasting network). In 1977 she joined Pro Musica Nipponia, and started her studies of the nijugen. She was awarded first prize at the 1979 Pan Musique Contemporary Music Contest. Her fourth solo recital, an all-Miki program, was awarded the 1994 Arts Festival Award for most outstanding musician. Leaving Pro Musica Nipponia in 1997, she became a soloist with Miki's Orchestra in Asia.
Tadashi Tajima is a shakuhachi player of international renown. He has participated in many international music festivals, including the Edinburgh Music Festival and has performed in a total of 14 countries outside Japan. He was awarded the Arts Festival Award by the Agency for Cultural Affairs in 1990. As a member of Pro Musica Nipponia, he has been awarded the Remy Martin Prize, and the Ongaku-no-tomo Sha Prize. He placed first at the Japanese Music Competition of the Pan Musique Festival, being awarded the Grand Prix and the German Ambassador's Award.
This exquisite recording presents five pieces from the repertoire of koto performers in the field known as 'gendai hogaku,' or contemporary music for Japan's traditional instruments. Performers in this field play on the traditional 13-string koto and two of its 20th century variants: the jushichigen ('17 strings', bass koto) and nijugen (literally '20 strings' but now as a rule with 21).
Performers in this field have generally undergone early training in the classical repertoire, but it is very uncommon for them to include pieces from that repertoire in their solo or group recitals. This trend is indicative of a shift in direction, away from the vocal towards the instrumental that is currently shaping the future of new composition for the original and newly-developed versions of Japan's traditional instruments.
The traditional koto is a long zither with thirteen strings stretched over a hollow shell made of kiri (princess tree or paulownia) wood. The strings are held up over the body of the instrument with movable bridges whose positions can be changed to produce a great variety of tunings. From its ancient introduction to Japan from the Asian continent until the early decades of this century, the instrument went through no major changes in construction. The situation has changed dramatically, however, since the 1920s, as a number of versions of the instrument with more strings were developed to answer demands for greater instrumental versatility.
Reiko Kimura says this about her choices for this disk: "I selected the pieces to facilitate a broad understanding of music for the koto, including a range of pieces from the classical Midare to a recent piece by a young composer. In addition, two of the contemporary compositions included are classical in atmosphere: Matsumura's Shikyoku Ichiban and the second half of Miki's Higashi kara, which has the independent title Godan no Shirabe, thus acknowledging a debt to the classical danmono form. The only piece from the classical repertoire is Midare, but the inclusion of two contemporary pieces with a classical atmosphere should make for a natural flow from classical to modern."
1. Midare Rinzetsu: Midare
2. Shikyoku Ichiban, "Poeme I pour shakuhachi et koto"
3. Rhapsody for 20-string koto: Rhapsody for twenty-string koto
4. Higashi Kara (From The East)
5. Ame No Uta (A Poem Of The Rain)
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Переслать - A Handful of Beauty
Shakti with John McLaughlin
A Handful of Beauty
Shakti headed for the safer confines of a London recording studio on its second album, minus R. Raghavan and minus some of the volatile energy that they generated on their debut record. They were, however, a more integrated, more subtle ensemble now, exploring quieter, more lyrical corners of their East-West fusion, with L. Shankar's spectacular violin and Zakir Hussain's tabla taking the solo foreground as much as, if not more than, McLaughlin's acoustic guitar. With the exception of an arrangement of a traditional South Indian piece "Kriti," McLaughlin and Shankar contribute all of the compositions, which lean even more heavily toward South Indian music with reminders of McLaughlin's Western roots. As a whole, this is less accessible to McLaughlin's jazz-rock flock than the first Shakti album, but still fascinating for contemporary listeners with a yen for world music, as well as curious stragglers from the classical Indian world dominated by Ravi Shankar (another indefatigable champion of East-West fusions). ~ Richard S. Ginell, All Music Guide
1. "La Danse Du Bonheur" (John McLaughlin, Lakshminarayana Shankar) – 4:48
2. "Lady L" (Shankar) – 7:23
3. "India" (McLaughlin, Shankar) – 12:31
4. "Kriti" – 2:58
5. "Isis" (McLaughlin, Shankar) – 15:11
6. "Two Sisters" (McLaughlin) – 4:41
* Steven Berkowitz – assistant
* Zakir Hussain – percussion, tabla
* John McLaughlin – acoustic guitar, guitar, arranger, producer,
* Lakshminarayana Shankar – violin, arranger, vocals
* Vikku Vinayakram – percussion, vocals
FLAC (EAC Rip): 270 MB | MP3 - 320 kbs: 115 MB | Scans
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Переслать - Armand Amar - La musique de la Terre vue du ciel
Musique de la Terre Vue Du Ciel: Earth From Above
Armand Amar
Synthesis perfect musical level between Philip Glass, Arvo Part and Dead Can Dance. The "fans" of these three musicians will find all their account, as the synthesis is perfect. Those who do not know imperatively must try the experience and let captivated by the rhythms from elsewhere.
01. La Genèse
02. L'Orage Et La Baleine
03. Terra Incognita
04. Save Us
05. Chaosmos
06. Te Amo
07. Civilisation
08. Images
09. Les Sens
10. Babel
11. La Terre Vue Du Ciel
APE (EAC Rip): 250 MB | MP3 - 320 kbs: 150 MB | H.Q Scans - 240 MB
Archives have 3% of the information for restoration
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Переслать - Faiyaz Wasifuddin Dagar - The Art of Dagarvani Dhrupad
Faiyaz Wasifuddin Dagar
The Art of Dagarvani Dhrupad, 1999
CD 1
1. Lalit - Alap
2. Lalit - Dhrupad
3. Lalit (2nd version) - Dhrupad
CD 2
1. Hindol - Alap
2. Hindol - Dhrupad
3. Shuddh Sarang - Alap
4. Shuddh Sarang - Dhrupad
CD 3
1. Puriya - Alap
2. Puriya - Dhrupad
3. Yaman - Alap
4. Yaman - Dhrupad
CD 4
1. Chandrakauns - Alap
2. Chandrakauns - Dhrupad
CD 5
1. Darbari Kanada - Alap
2. Darbari Kanada - Dhrupad
3. Adana - Dhrupad
4. Sohini - Alap
5. Sohini - Dhrupad
Faiyaz Wasifuddin Dagar - vocals
Praveen Arya - pakhawaj
320 kbps including full scans
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10
Переслать - Páll Eyjólfsson - Carino
Páll Eyjólfsson
Carino, 2009
Francisco Tárrega
01. Preludio N°1 1:49
02. Preludio N°2 2:10
03. Preludio N°5 1:55
04. Preludio N°10 0:43
05. Mazurca en Sol 3:21
06. Marietta 2:25
07. Maria 1:55
08. Preludio N°20 - Lagrima 2:55
09. Adelita 1:54
10. Minuetto 2:04
11. Sueno 3:04
12. Rosita 2:48
13. Capricho árabe 5:20
14. Preludio N°11 1:10
15. Preludio N°18 1:20
16. Preludio N°13 1:06
17. Preludio N°15 1:04
18. Preludio N°23 1:15
19. Preludio N°25 1:18
20. Preludio N°34 - Endecha 1:24
21. Preludio N°35 - Oremus 1:06
Heitor Villa-Lobos - Cinq preludes
22. Prélude N°1 5:34
23. Prélude N°2 3:21
24. Prélude N°3 7:19
25. Prélude N°4 3:36
26. Prélude N°5 4:33
320 kbps including full scans
Part One
Part Two
Переслать - The Art of the Japanese Koto, Shakuhachi and Shamisen
The Art of the Japanese Koto, Shakuhachi and Shamisen
Yamato Ensemble
Makoto Hasegawa (shamisen), Aiko Hasegawa (koto, jushichigen [bass koto], voice), Kikuko Satoh (koto, shamisen, voice) and Richard Stagg (shakuhachi, nisshaku yonsun [long shakuhachi]) present seven pieces in various combinations of their instruments, including a hauntingly beautiful shakuhachi solo.
1. Kaede No Hana (Acer Blossoms) - Yamato Ensemble, Shun'ei, Matsuzaka
2. Kokuu (Empty Sky) - Yamato Ensemble, Anonymous
3. Futatsu No Den-En-Shii (Pastoral) - Yamato Ensemble, Katsutoshi, Nagasaw
4. Futatsu No Den-En-Shiii (Pastoral) - Yamato Ensemble, Katsutoshi, Nagasaw
5. Kageboshi (The Silhouette) - Yamato Ensemble, Kengyo, Ikuyama
6. Midare (Transformations of Yatsuhashi's Midare) - Yamato Ensemble, Ryohei, Hirose
7. Yukage (A Ballade in Twilight) - Yamato Ensemble, Minoru, Miki
320 kbps including full scans
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Part Two
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